Fascinating that a musician of the caliber of Hank Garland (who was signed to Columbia, for cryin’ out loud) would release a companion album of sorts – Subtle Swing – to the groundbreaking (and previously discussed) Jazz Winds From a New Direction, and yet so little information to confirm its existence, aside from Sundazed’s 2004 vinyl reissue.
Poke around online, and you will discover that Subtle Swing was tacked onto 2013’s CD reissue of Who Is Gary Burton? as an inducement for fans of the noted jazz vibraphonist — but at the expense of Hank Garland!
Dig deeper still, and you will correctly deduce that Sony, in partnership with Sundazed, incorporated Hank’s entire Columbia output [1960’s Velvet Guitar + 1960’s Subtle Swing + 1961’s Jazz Winds] into a double compact disc, albeit in jumbled order, when issued in 2001.
Jazz Wax notes that the recording session for Subtle Swing took place six days after the Jazz Winds in a New Direction album had wrapped on August 24, 1960 (here we go again, an entire album recorded in a single day) although, it’s not quite true that the “same group” of musicians played on this follow-up album — only Garland and Burton remained from Jazz Winds.
Check out the stereo drums that kick off album closer, “Call D. Law” – a clever bit of wordplay that also pays tribute to Columbia boss and benefactor, Don Law:
“Call D. Law”
Hank Garland (1960)
Hank Garland: Guitar
Gary Burton: Vibraphone
Bob Moore: Bass
Doug Kirkham & Murrey “Buddy” Harman: Drums
Bill Pursell: Piano
Don Law: Producer
The CD liner notes by the indispensible Rich Kienzle sheds light on the special reasons underlying Subtle Swing‘s obscurity.
Six days later, Hank returned to the studio for two days to produce a jazzy album for the song licensing firm SESAC, who produced country and gospel recordings for the radio stations that took licenses with the company. This session was geared as much to the radio market as it was to the jazz audience. The band, however, was strictly Nashville, including Burton, Bob Moore, pianist Bill Pursell, and drummer Doug Kirkham, who’d worked with Hank in Billy Burke’s combo.
If Jazz Winds emphasized Hank in a [Tal] Farlowesque context, the ten-song SESAC effort, released to clients under the title Subtle Swing, reflected the influence of pianist George Shearing’s Quintet. Programming requirements seemingly mandated no songs longer than four minutes. It’s a Garland-Burton effort all the way.
Original copy of 1960 SESAC album –
Sold for $47 in 2004
Now that the Hank Garland Quintet is a ‘fait accompli’ on SESAC Recordings, the young guitarist stands in the unique position of moulding a new career on the firm foundation of his C&W successes. With a patient hand and perceptive musicianship, he has unified the instrumental skills of five performers to produce these refreshing sounds. The “subtle swing” which has always been a vital part of Garland’s playing transcends his newest contribution to musical entertainment.
[liner notes from the back cover]
But tragedy would intervene in Garland’s life when a blown rear tire resulted in a serious accident that would leave him permanently impaired. 1962’s Unforgettable Guitar of Hank Garland was essentially a repackaging of the SESAC recordings — his musical career forever halted. In 1992, Bear Family would gather Garland’s 1940s & 50s Decca recordings, including a pair of excellent unissued tracks from 1957, “Baby Guitar” and “Hank’s Dream.
“Designed for repeated listening” as the original LP promised